IMG STAGELINE MMX-22 User manual

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Please read these operating instructions care-

fully prior to operating the unit and keep them for

later reference. All operating elements and con-

nections de scribed can be found on the fold-out

page 3.

1 Operating Elements and

Connections

1.1 Rear panel

A Power supply jack for connection of the

power supply provided

B On/off switch of the mixer

C* USB jack (type B) for connection to a com-

puter: can be used as an output (digital out-

put of the sum signal) and as an input (feed-

in of audio data)

1.2 Front panel

Mono input channel CH 1;

channel CH 2 is identical

Stereo input channel CH 3/4;

channel CH 5 / 6 is identical

1 Input for connection of a microphone (XLR

jack, bal.)

Note: A phantom power can be activated for the

microphone inputs:



item 21.

2 Input for the connection of a unit with line sig-

nal level (e. g. musical instrument)

Mono channel:

1 × 6,3 mm jack, bal.

Stereo channel:

1 × 6,3 mm jack, Left L, bal.

1 × 6,3 mm jack, Right R, bal.

Only use the jack L to connect a mono unit.

3 Control GAIN for input amplification

4 Equalizer for high range (HIGH), midrange

(MID) and bass range (LOW)

5 Control AUX SEND to add the channel signal

to the effect send way; the signal will be

picked up after the control LEVEL (8)

In the model MMX-22UFX, the effect send

way is also used as the effect way for the

internal effect processor.

6 Mono channel:

Panorama control PAN to place the mono

signal in the stereo sound

Stereo channel:

Balance control BAL for the stereo signal

7 LED indicator PEAK; lights up permanently

when the channel is overloaded (control

GAIN or equalizer advanced too much or sig-

nal level at channel input too high)

8 Level control LEVEL to add the channel sig-

nal to the signal sum

Master section

9 Input STEREO AUX RETURN (6.3 mm jacks

Left L /Right R, unbal.), can be used as an

input for an effect unit or for an additional

line audio source (for the model MMX-22,

only use the jack L to connect a mono unit;

for the model MMX-22UFX, use a Y cable to

connect a mono unit to both jacks)

Note for model MMX-22UFX: Connecting a unit to

the jacks will mute the outputs of the internal effect

processor.

10 Output AUX SEND (6.3 mm jack, unbal.) of

the effect send way, for connection to the

input of an effect unit

11 Output PHONES (6.3 mm jack) to connect

stereo headphones (minimum impedance of

8 Ω)

12 Output BOOTH OUT (6.3 mm jacks Left L /

Right R, unbal.) to connect the amplifier of a

monitor system in a separate control room

13 Output MASTER OUT for the sum signal

(6.3 mm jacks Left L /Right R, unbal.), e. g. to

connect the amplifier for PA applications or to

connect a second mixer

14 Input TAPE IN (RCA jacks Left L /Right R) to

connect the output of a recorder or another

reproduction unit, e. g. a CD player

15 Output TAPE OUT (RCA jacks Left L /Right R)

to connect the input of a recorder

16 Button TAPE[/USB*] TO BOOTH/PHONES:

with the button pressed, the input signal of

the jacks TAPE IN (14) and the USB jack (C)*

is sent to the monitoring outputs PHONES

(11) and BOOTH OUT (12) and indicated by

means of the LED level indicator (22)

17 Button TAPE [/USB*] TO MIX:

press the button to send the input signal of

the jacks TAPE IN (14) and of the USB jack

(C)* to the sum signal

18 LED POWER ON

19 Model MMX-22:

Level control AUX SEND MASTER for the

sum signal of the effect send way at the out-

put AUX SEND (10)

Model MMX-22UFX:

Level control AUX RETURN for the output sig-

nal of the internal effect processor or the sig-

nal at the input STEREO AUX RETURN (9)

20 LED indicator; lights up when phantom power

has been activated by means of the button

PHANTOM 48V (21)

21 Button PHANTOM 48V: press the button to

apply a phantom power of 48 V to the inputs

MIC (1)

Please observe the warning notes with re -

gard to the phantom power in chapter 4.1.1.

22 LED level indicator for the sum signal or,

with the button TAPE[/USB*] TO BOOTH/

PHONES (16) pressed, for the input signal of

the jacks TAPE IN (14) and the USB jack (C)*

23 Volume control BOOTH/ for the monitoring

outputs PHONES (11) and BOOTH OUT (12)

24 Total-level control MASTER for the audio mix

(total of all signals);

the sum signal is sent via the jacks MASTER

OUT (13), TAPE OUT (15) and the USB jack

(C)* and can be monitored via the outputs

PHONES (11) and BOOTH OUT (12).

Operating elements for the effect processor*:

25 Display; to indicate the number of the effect

selected (



effect overview on page 28)

26 Effect selector knob PROGRAM:

Turn the knob until the effect number starts

flashing on the display (25), and then press

the knob briefly to confirm.

27 LED PEAK; lights up to indicate an overload

at the input of the effect processor or to indi-

cate muting of the effect processor with the

button MUTE (28)

28 Button MUTE; to mute [LED PEAK (27) will

light up] and unmute the effect processor

2 Safety Notes

The units (mixer and power supply unit) corre-

spond to all relevant directives of the EU and are

therefore marked with

.

Please observe the following items in any case:

G

The units are suitable for indoor use only. Pro-

tect them against dripping water and splash

water, high air humidity and heat (admissible

ambient temperature range: 0 – 40 °C).

G

Do not place any vessel with liquid on the

units, e. g. a drinking glass.

G

The heat generated inside the mixer must be

dissipated by air circulation; never cover the

air vents of the housing.

G

Do not operate the mixer and immediately dis-

connect the power supply unit from the socket

1. if the mixer or the power supply unit is visi-

bly damaged,

2. if a defect might have occurred after the

mixer or the power supply unit was dropped

or suffered a similar accident,

3. if malfunctions occur.

In any case the units must be repaired by

skilled personnel.

G

For cleaning only use a dry, soft cloth; never

use water or chemicals.

G

No guarantee claims for the units and no lia-

bility for any resulting personal damage or

material damage will be accepted if the units

are used for other purposes than originally

intended, if they are not correctly connected

or operated, or if they are not repaired in an

expert way.

3 Applications

This audio mixer is designed for universal PA

and recording applications. It provides two mono

and two stereo input channels to connect micro-

phones (also phantom-powered) and audio

sources with line output levels (e. g. musical

instruments and reproduction units). A send way

allows for the use of an effect unit. In addition,

connections for a recorder are available. Audio

mixing may be monitored by means of head-

phones and/or a monitor system in a separate

control room.

The model MMX-22UFX additionally provides an

internal effect processor (100 preset effects) and

a USB audio interface for connection to a com-

puter.

If the units are to be put out of operation

definitively, take them to a local recy-

cling plant for a disposal which is not

harmful to the environment.

WARNING The power supply unit uses dan-

gerous mains voltage. Leave serv-

icing to skilled personnel. Inexpert

handling or modification may re -

sult in electric shock.

7

English

* only for model MMX-22UFX

4 Setting the Audio Mixer into

Operation

Prior to connecting/disconnecting and prior to

each switch-on, the output controls BOOTH/

(23) and MASTER (24) should be turned back to

the left stop.

4.1 Connecting audio sources

Since it is not possible to switch between the

inputs in the mono channels, either use the

microphone input (1) or the line input (2); never

use both inputs at the same time.

4.1.1 Microphones

Connect microphones to the balanced XLR jacks

MIC (1) of the channels CH 1 and CH 2. For

phantom-powered microphones, press the but-

ton PHANTOM 48 V (21) to activate a joint phan-

tom power supply of 48 V for the two XLR jacks.

When the phantom power supply is activated, the

phantom power supply indicator (20) lights up.

4.1.2 Line audio sources

Connect audio sources with line signal level

(e. g. receivers of wireless microphone systems,

musical instruments, reproduction units) to the

6.3 mm jacks (2) of the input channels. The jacks

are balanced. However, it is also possible to con-

nect units with unbalanced output via 2-pole

6.3 mm plugs.

– Connect mono units to the channels CH 1 and

CH 2.

– Connect stereo units to the channels CH 3/4

and CH 5/6. To connect a mono unit to a

stereo channel, only use the jack L; the mono

signal will then internally be sent to the right

and the left channels.

If the input channels do not suffice, use the fol-

lowing stereo inputs to connect additional line

sources:

– unbalanced 6.3 mm jacks STEREO AUX RE -

TURN (9)

– RCA jacks TAPE IN (14)

Notes with regard to the input STEREO AUX RETURN

1. To connect a mono unit to the input STEREO AUX

RETURN of the model MMX-22, only use the jack L;

the mono signal will then internally be sent to the

right and left channels. For the model MMX-22UFX,

use a Y cable to connect a mono unit to both jacks.

2. For model MMX-22UFX: connecting a unit to the two

jacks STEREO AUX RETURN will mute the left and

right output respectively of the internal effect pro -

cessor.

4.2 Connecting an effect unit

Using the send way, signal parts can be decou-

pled from the input channels, transmitted via

an effect unit and then, after being processed,

added to the sum signal. The signal is picked up

after the control LEVEL (8) of the corresponding

input channel.

Connect the effect unit via the unbalanced

6.3 mm jacks AUX SEND (10) and STEREO

AUX RE TURN (9):

1) Connect the input of the effect unit to the

mono output AUX SEND.

2) Connect the output of the effect unit to the

stereo input STEREO AUX RETURN. Please

also observe the notes with regard to the

input in chapter 4.1.2.

4.3 Connecting a recorder

A stereo recorder, e. g. a tape recorder, may be

connected to the RCA jacks TAPE IN (14) and

TAPE OUT (15):

1) Connect the reproduction output of the

recorder to the input TAPE IN.

2) Connect the recording input of the recorder to

the output TAPE OUT; the output will receive

the sum signal that has been adjusted by

means of the control MASTER (24).

The RCA jacks may also be used for other units

with line signal levels; it is, for example, possible

to connect a reproduction unit such as a CD

player or MP3 player to TAPE IN or to connect

an additional amplifier to TAPE OUT.

4.4 Connecting a monitor system

and headphones

Using stereo headphones and/or a monitor sys-

tem in a separate control room, audio mixing or

the input signal of the jacks TAPE IN (14) and of

the USB jack (C)* can be monitored. Connect

the headphones (minimum impedance of 8 Ω)

to the 6.3 mm jack PHONES (11). Connect the

amplifier of the monitor system to the stereo out-

put BOOTH OUT (12); the two 6.3 mm jacks of

the output are unbalanced.

4.5 Connecting an amplifier

The stereo output MASTER OUT (13) receives

the sum signal that has been adjusted by means

of the control MASTER (24). Here, the amplifier

for PA applications can be connected (or another

unit with a line input, e.g. a second mixer). The

6.3 mm jacks are unbalanced.

4.6 Power supply

Switching on and off

Connect the power supply unit provided to the

power supply jack (A) on the rear panel and to a

mains socket (230 V~/ 50 Hz).

To switch on the mixer, set the switch

POWER (B) to ON; to switch it off, set the switch

to OFF. When the mixer is switched on, the LED

POWER ON (18) lights up.

Note: If the mixer is not to be used for a longer period

of time, disconnect the power supply unit from the

socket, because it will consume some power even

when the mixer is switched off.

4.7 Operation with a computer*

Using the USB jack (C), audio files can be trans-

ferred in both directions between the mixer and

the computer, even at the same time:

– Using the USB jack as an input: Data fed in via

the USB jack can be added to the sum signal

and can be monitored by means of head-

phones/a control room monitor system.

– Using the USB jack as an output: The USB

jack provides the sum signal that has been ad -

justed by means of the control MASTER (24).

To operate the mixer with a computer, the audio

software supplied with the operating system or

additionally installed audio software may be

used. Various audio software programs for

recording and reproduction are available on the

Internet free of charge.

1) Start the computer and connect the USB jack

of the mixer to a USB connection on the com-

puter.

2) The computer will recognize the switched-on

mixer as a USB audio device for audio

input and audio output. The required drivers

(default drivers of the operating system) are

available on the computer.

Note: If not all required drivers are available on the

computer, they must be installed, e. g. by means of

the original CD of the operating system. If neces-

sary, restart the computer after you have installed

the drivers.

3) Call up the audio program to be used; there,

make the appropriate settings for audio

reproduction via the mixer or audio recording

from the mixer (



manual of the program).

The mixer can then be operated as described

in chapter 5.

If no audio recording or audio reproduction is

possible, check in the system settings of the

computer if the USB interface has been selected

for audio input or audio output.

Hint: If the mixer is connected to both a computer and

to units that are earthed via their mains cable (e. g.

amplifiers), hum interference may occur due to ground

loops. To eliminate the hum interference, the mixer may

be connected to the respective unit by means of a

ground isolator (e. g. FGA-102 or FGA-202 from “img

Stage Line”).

5 Operation

5.1 Basic adjustments of the

input channels CH 1 to CH 5/6

The following steps for level matching and sound

correction merely serve as an aid; other proce-

dures are possible.

1) In the input channels:

– turn back all controls LEVEL (8) and all

controls AUX SEND (5) to the left stop

– turn all controls GAIN (3), all sound con-

trols (4) and all controls PAN and BAL (6)

to their mid-position

2) Model MMX22-UFX: turn back the control

AUX RETURN (19) to the left stop

3) If pressed, disengage the two buttons

TAPE[/USB*] TO BOOTH/PHONES (16) and

TAPE[/USB*] TO MIX (17).

4) Turn the control MASTER (24) to its mid-

position.

5) Feed an audio signal to the respective first

input channel (e. g. sing into a microphone,

play a musical instrument).

6) To adjust a mono channel

turn the control LEVEL (8) to its mid-position.

Adjust the control GAIN (3) so that the LED

level indicator (22) lights up at 0 dB. Use the

three EQ controls (4) to adjust the sound.

Then, if necessary, use the control GAIN to

CAUTION Never adjust the audio system

and the headphones to a very

high volume. Permanent high vol-

umes may damage your hearing!

Your ear will get accustomed to

high volumes which do not seem

to be that high any more after

some time. Therefore, do not fur-

ther increase a high volume after

getting used to it.

Caution: When the phantom power is acti-

vated, no microphones with unbalanced output

must be connected, as they could be damaged.

To prevent switching noises in the speakers

and the headphones, only switch the phantom

power on or off when the mixer is switched off

or when the corresponding output controls

have been turned back to their left stop.

8

English

* only for model MMX-22UFX

correct the level adjustment. The LED indica-

tor PEAK (7) should briefly flash for signal

peaks only. If it lights up permanently, turn

back the control GAIN and/or the sound con-

trols correspondingly.

To adjust a stereo channel

turn the control LEVEL (8) so that the LED

level indicator (22) lights up at 0 dB, and then

use the EQ controls (4) to optimize the

sound. If the LED indicator PEAK (7) lights

up permanently, turn back the appropriate

sound controls correspondingly or reduce the

output level of the audio source.

7) After adjusting a channel, turn back its control

LEVEL to the left stop and then adjust the

next channel.

5.2 Mixing audio sources

1) Turn up the control MASTER (24) so that the

mixing ratio of the audio sources can be

adjusted in an optimum way.

2) When all level matching adjustments and

all sound adjustments have been made

(



chap ter 5.1), use the controls LEVEL (8)

to mix the signals of the input channels CH 1

to CH 5/6 in the volume ratio desired. Always

turn the controls LEVEL of the channels not

used back to the left stop.

3) For the mono channels, use the panorama

controls PAN (6) to place the mono signals in

the stereo sound. For the stereo channels,

use the controls BAL (6) to adjust the balance

of the stereo signals.

4) For adding effects, please refer to chapter 5.3.

5) If an additional audio source is connected to

the input STEREO AUX RETURN (9): for the

model MMX-22UFX, use the control AUX

RETURN (19) to add the signal of the addi-

tional audio source to the signal sum. (Model

MMX-22 does not provide a level control for

the input.)

6) To add the input signal of the jacks TAPE IN

(14) and of the USB jack (C)* to the signal

sum, press the button TAPE[/USB*] TO MIX

(17).

Note: If, during recording via the jacks TAPE OUT

or the USB jack*, the recording signal is sent as

an input signal to the jacks TAPE IN or the USB

jack*, the button TAPE[/USB*] TO MIX may not be

pressed; otherwise, there will be a feedback.

7) Use the control MASTER (24) to adjust

the definite volume of the sum signal; check

the LED level indicator (22) while adjusting

the volume. Make sure that the button

TAPE[/USB*] TO BOOTH/PHONES (16) is

not pressed; otherwise, the LED level indica-

tor will not indicate the level of the sum signal.

The red LEDs CLIP of the level indicator will

light up to indicate an overload.

5.3 Adding effects

5.3.1 Using an external effect unit

1) To make sure that the subsequent effect ad -

justments are audible, first adjust the control

AUX SEND MASTER (19) [model MMX-22]

or AUX RETURN (19) [model MMX-22UFX]

approx. to its mid-position.

2) Use the controls AUX SEND (5) to add the

signals of the channels CH 1 to CH 5/6 to the

effect way. The signal is picked up after the

control LEVEL (8), i. e. the effect part of a

channel is always proportionate to the chan-

nel level adjusted.

3) Model MMX-22:

Use the control AUX SEND MASTER (19) to

adjust the level for the sum of all signals that

were added to the effect way.The sum signal

of the effect way is sent to the effect unit via

the output AUX SEND (10). The signal from

the effect unit is added to the signal sum via

the jacks STEREO AUX RETURN (9).

Model MMX-22UFX:

The sum of all signals added to the effect way

is sent to the effect unit via the output AUX

SEND (10). Use the control AUX RETURN

(19) to add the signal received from the effect

unit at the input STEREO AUX RETURN (9)

to the sum signal.

5.3.2 Using the internal effect processor*

The input STEREO AUX RETURN (9) must be

available (



note 2 in chapter 4.1.2).

1) To make sure that the subsequent effect ad -

justments are audible, first set the control AUX

RETURN (19) approximately to mid-position.

2) Turn the knob PROGRAM (26) clockwise or

counter-clockwise until the number of the de -

sired effect (



effect overview on page 28)

starts flashing on the display (25). Press the

knob to confirm the number: The number

stops flashing; the effect is activated.

3) Use the controls AUX SEND (5) to add the

signals of the channels CH 1 to CH 5/6 to the

effect way. The signal is picked up after the

control LEVEL (8), i. e. the effect part of a

channel is always proportionate to the chan-

nel level adjusted.

4) Use the control AUX RETURN (19) to add the

output signal of the effect processor to the

signal sum.

The LED PEAK (27) will light up if there is

an overload at the input of the effect proces-

sor. Turn back any controls AUX SEND (5)

turned up too far. If necessary, turn up the

control AUX RETURN (19) in compensation.

5) To mute the effect processor, press the but-

ton MUTE (28) [button will not engage].

When the muting feature has been activated,

the LED PEAK (27) will light up. To unmute,

press the button MUTE once again; the LED

PEAK will be extinguished.

5.4 Monitoring via headphones and

monitor system

The button TAPE[/USB*] TO BOOTH/PHONES

(16) determines the signal to be monitored via the

outputs PHONES (11) and BOOTH OUT (12) and

to be indicated by the LED level indicator (22):

– When the button is not pressed, the sum sig-

nal adjusted by means of the control MASTER

(24) is monitored and indicated.

– When the button is pressed, the input signal at

the jacks TAPE IN (14) and at the USB jack

(C)* is monitored and indicated (e. g. for

checking a recording).

Use the control BOOTH/ (23) to adjust the

monitoring volume.

6 Specifications

Input sensitivity

Mic: . . . . . . . . . . . . . . 0.5 mV

Line (CH 1, CH 2): . . . 1 mV

Line (CH 3/4, CH 5/6): 10 mV

Stereo Aux Return: . . 100 mV

Tape In: . . . . . . . . . . . 100 mV

Output level

Master Out/Tape Out: 650 mV

(at indication 0 dB)

Booth Out: . . . . . . . . . 2 V (at indication 0 dB)

Aux Send: . . . . . . . . . 9.5 V max.

Headphone impedance: ≥ 8 Ω

USB interface*: . . . . . . . USB 2.0

(Full Speed)

Frequency range: . . . . . 20 – 20 000 Hz

THD: . . . . . . . . . . . . . . . < 0.05 %

S/N ratio: . . . . . . . . . . . . > 74 dB (A weighted)

Crosstalk: . . . . . . . . . . .

-

63 dB

Equalizer controls

bass frequencies: . . . . ±15 dB/80 Hz

mid-frequencies: . . . . ±15 dB / 2.5 kHz

high frequencies: . . . . ±15 dB/12 kHz

Phantom power: . . . . . . +48 V

Power supply: . . . . . . . . 18 V~ via power

supply unit provided,

connected to 230 V~/

50 Hz

Ambient temperature: . . 0 – 40 °C

Dimensions (W × H × D)

MMX-22: . . . . . . . . . . 190 × 50 × 260 mm

MMX-22UFX: . . . . . . . 190 × 65 × 260 mm

Weight

MMX-22: . . . . . . . . . . 1,7 kg

MMX-22UFX: . . . . . . . 2.4 kg

Suitable operating systems for data transfer via

the USB interface*:

Windows 2000, Windows XP or subsequent

Windows versions

Mac OS 9.0.4 or later, Mac OS X

Windows is a registered trademark of Microsoft Corporation in the USA

and other countries .

Mac OS is a registered trademark of Apple Computer, Inc. in the USA

and other countries.

Subject to technical modification.

9

English

®

INTERNATIONAL GmbH & Co. KG. No part of this instruction

manual may be reproduced in any form or by any means for any commercial use.

* only for model MMX-22UFX

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28

Effektübersicht

Nummer Name Effekt Parameter

00 – 09 Vocal Nachhalleffekt, besonders für Gesangsanwendungen geeignet Abklingzeit 0,8 – 0,9 s, Pre-Delay-Zeit 10 – 45 ms

10 – 19 Small Room Nachhalleffekt: Simulation eines kleinen bis mittelgroßen Raums Abklingzeit 0,7 – 2,1 s, Pre-Delay-Zeit 20 – 45 ms

20 – 29 Large Hall Nachhalleffekt: Simulation eines großen Saals Abklingzeit 3,6 – 5,4 s, Pre-Delay-Zeit 23 – 55 ms

30 – 39 Echo Echo-Effekt Delay-Zeit 145 – 205 ms

40 – 49 Echo + Verb Kombination von Echo-Effekt und Nachhalleffekt Delay-Zeit 208 – 650 ms, Abklingzeit 1,7 – 2,7 s

50 – 59 Flange + Verb Kombination von Flanger-Effekt und Nachhalleffekt Geschwindigkeit 0,8 – 2,52 Hz, Abklingzeit 1,5 – 2,9 ms

60 – 69 Plate Simulation einer klassischen, hell klingenden Hallplatte Abklingzeit 0,9 – 3,6 s

70 – 79 Chorus + GTR Gitarreneffekt: Chorus Geschwindigkeit 0,92 – 1,72 Hz

80 – 89 Rotary + GTR Gitarreneffekt: Rotary (Leslie-Effekt) Modulationstiefe 20 – 80 %

90 – 99 Tremolo + GTR Gitarreneffekt: Tremolo Geschwindigkeit 0,6 – 5 Hz

Effect Overview

Number Name Effect Parameter

00 – 09 Vocal reverb effect, ideally suited for vocals decay time 0.8 – 0.9 s, pre-delay time 10 – 45 ms

10 – 19 Small Room reverb effect; simulation of a small to medium-sized room decay time 0.7 – 2.1 s, pre-delay time 20 – 45 ms

20 – 29 Large Hall reverb effect; simulation of a large hall decay time 3.6 – 5.4 s, pre-delay time 23 – 55 ms

30 – 39 Echo echo effect delay time 145 – 205 ms

40 – 49 Echo + Verb combination of echo effect and reverb effect delay time 208 – 650 ms, decay time 1.7 – 2.7 s

50 – 59 Flange + Verb combination of flanger effect and reverb effect rate 0.8 – 2.52 Hz, decay time 1.5 – 2.9 ms

60 – 69 Plate simulation of a classic reverberation plate with bright sound decay time 0.9 – 3.6 s

70 – 79 Chorus + GTR guitar effect: Chorus rate 0.92 – 1.72 Hz

80 – 89 Rotary + GTR guitar effect: Rotary (Leslie effect) modulation depth 20 – 80 %

90 – 99 Tremolo + GTR guitar effect: Tremolo rate 0.6 – 5 Hz

Présentation effets

Numéro Nom Effet Paramètres

00 – 09 Vocal Effet réverbération, particulièrement adapté pour applications de chant Durée de diminution 0,8 – 0,9 s, durée Pre-Delay 10 – 45 ms

10 – 19 Small Room Effet réverbération : simulation dʼune petite à moyenne pièce Durée de diminution 0,7 – 2,1 s, durée Pre-Delay 20 – 45 ms

20 – 29 Large Hall Effet réverbération : simulation dʼune grande pièce Durée de diminution 3,6 – 5,4 s, durée Pre-Delay 23 – 55 ms

30 – 39 Echo Effet Echo Durée Delay 145 – 205 ms

40 – 49 Echo + Verb Combinaison de lʼeffet Echo et de lʼeffet Réverbération Durée Delay 208 – 650 ms, durée de diminution 1,7 – 2,7 s

50 – 59 Flange + Verb Combinaison de lʼeffet Flanger et de lʼeffet Réverbération Vitesse 0,8 – 2,52 Hz, durée de diminution 1,5 – 2,9 ms

60 – 69 Plate Simulation dʼune réverbération à plaque classique à tonalité claire Durée de diminution 0,9 – 3,6 s

70 – 79 Chorus + GTR Effet guitare : Chorus Vitesse 0,92 – 1,72 Hz

80 – 89 Rotary + GTR Effet guitare : Rotary (effet Leslie) Profondeur de modulation 20 – 80 %

90 – 99 Tremolo + GTR Effet guitare : Tremolo Vitesse 0,6 – 5 Hz

Panoramica degli effetti

Numero Nome Effetto Parametri

00 – 09 Vocal Effetto riverbero, indicato particolarmente per il canto Tempo di riverberazione 0,8 – 0,9 s, tempo pre-delay 10 – 45 ms

10 – 19 Small Room Effetto riverbero: simulazione di un ambiente piccolo o di medie dimensioni Tempo di riverberazione 0,7 – 2,1 s, tempo pre-delay 20 – 45 ms

20 – 29 Large Hall Effetto riverbero: simulazione di una grande sala Tempo di riverberazione 3,6 – 5,4 s, tempo pre-delay 23 – 55 ms

30 – 39 Echo Effetto eco Tempo delay 145 – 205 ms

40 – 49 Echo + Verb Combinazione fra effetto eco e riverbero Tempo delay 208 – 650 ms, tempo di riverberazione 1,7 – 2,7 s

50 – 59 Flange + Verb Combinazione fra effetto flanger e riverbero Velocità 0,8 – 2,52 Hz, tempo di riverberazione 1,5 – 2,9 ms

60 – 69 Plate Simulazione di un piastra di riverbero classica dal suono chiaro Tempo di riverberazione 0,9 – 3,6 s

70 – 79 Chorus + GTR Effetto chitarra: chorus Velocità 0,92 – 1,72 Hz

80 – 89 Rotary + GTR Effetto chitarra: rotary (effetto Leslie) Profondità di modulazione 20 – 80 %

90 – 99 Tremolo + GTR Effetto chitarra: tremolo Velocità 0,6 – 5 Hz

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